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714:, however, has left us a set of plans for the Tuileries. One engraving shows a grandiose palace, with three courts and two oval halls. This design is atypical of de l'Orme's style and so is likely to have been du Cerceau's own proposal or his son Baptiste's. It recalls the houses with tall pavilions and multiple courtyards that du Cerceau often drew in the 1560s and 1570s. Architectural historian David Thomson suggests that the oval halls within du Cerceau's courtyards were Catherine de' Medici's idea. She may have planned to use them for her famously lavish balls and entertainments. Du Cerceau's drawings reveal that, before he published them in 1576, Catherine decided to join the Louvre to the Tuileries by a gallery running west along the north bank of the Seine. Only the ground floor of the first section, the
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673:, today is having built at Paris ... The other reason why I wanted to use and to show the Ionic order properly, on the palace of Her Majesty the Queen, is because it is feminine and was devised according to the proportions and beauties of women and goddesses, as was the Doric to those of men, which is what the ancients have told me: for, when they decided to build a temple to a god, they used the Doric, and to a goddess, the Ionic. Yet all architects have not followed that , shown in
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104:. Francis died in 1547, and Catherine became queen consort of France. But it wasn't until her husband King Henry's death in 1559, when she found herself at forty the effective ruler of France, that Catherine came into her own as a patron of architecture. Over the next three decades, she launched a series of costly building projects aimed at enhancing the grandeur of the monarchy. During the same period, however,
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326:, she commissioned a magnificent and innovative tomb for Henry and herself. The design of this tomb should be understood in the context of its planned setting. The plan was to integrate the tomb's effigies of the king and queen with other statues throughout the chapel, creating a vast spatial composition. Catherine's approval would have been essential for such a departure from funerary tradition.
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120:, an empty tomb at Saint-Denis. The sculptures she commissioned for the Valois chapel are lost, or scattered, often damaged or incomplete, in museums and churches. Catherine de' Medici's reputation as a sponsor of buildings rests instead on the designs and treatises of her architects. These testify to the vitality of French architecture under her patronage.
354:, who had built previous royal tombs. Whereas de l'Orme had designed the tomb of Francis I to be viewed only from the front or the side, Primaticcio's design allowed the tomb to be viewed from all angles. Art historian Henri Zerner has called the plan "a grand ritualistic drama which would have filled the rotunda's celestial space".
593:. He set it on a base made to look like natural rock, from which guests could watch the games while taking refreshments. The work was completed in 1558 but has not survived. The château ceased to be used as a royal residence after 1640, and had fallen into ruin by the time it was demolished by revolutionary decree in 1798.
1498:"With the rise of naturalistic representations beginning in the fifteenth century, the afterlife was imagined as an exact replica of earthly existence. As a result, the tombs of the mighty often insinuated an ambiguous conflation of the glorious Life Eternal with a glorification of their earthly lives." Zerner, 380.
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to make room for inscriptions. Only a part of de l'Orme's scheme was ever built: the lower section of a central pavilion, containing an oval staircase, and a wing on either side. Though work on de l'Orme's design was abandoned in 1572, two years after his death, it is nonetheless held in high regard.
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reign, after making too many enemies. De l'Orme mentioned the project in his treatises on architecture, but his ideas are not fully known. It appears from the small amount of work carried out that his plans for the
Tuileries departed from his known principles. De l'Orme is said to have "taught France
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After de l'Orme's death, Jean
Bullant replaced him as Catherine's chief architect. In 1572, Catherine commissioned Bullant to build a new home for her within the Paris city walls. She had outgrown her apartments at the Louvre and needed more room for her swelling household. To make space for the new
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You will find here the edifices, columns, and pyramids that she had built both at Rhodes and
Halicarnassus, which will serve as remembrances for those who reflect on our times and who will be astounded at your own buildings–the palaces at the Tuileries, Montceaux, and Saint-Maur, and the infinity of
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wounds in 1559 changed
Catherine's life. From that day, she wore black and took as her emblem a broken lance. She turned her widowhood into a political force that validated her authority during the reigns of her three weak sons. She also became intent on immortalizing her sorrow at the death of her
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Zerner suggests that these two, apparently superfluous, recumbent effigies, as rigid as those from the thirteenth century, might have been a "call to order". In the context of the wars of religion, they may have represented a pulling back from the sensuality of the tomb, which "was bound to appear
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The remains of the King and Queen originally lay in the mortuary chamber below, but in 1793, a mob tossed
Catherine and Henry's bones into a pit with the rest of the French kings and queens. Catherine's effigy suggests sleep rather than death, while Henry is posed strikingly, with his head thrown
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De l'Orme wrote that
Catherine, with "an admirable understanding combined with great prudence and wisdom," took the trouble "to order the organization of her said palace (the Tuileries) as to the apartments and location of the halls, antechambers, chambers, closets and galleries, and to give the
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Reigle generalle d'architectvre des cinq manieres de colonnes, á sçauoir, Tuscane, Dorique, Ionique, Corinthe, & Coposite; enrichi de plusieurs autres, à l'exemple de l'antique; veu, recorrigé & augmenté par l'auteur de cinq autre ordres de colonnes auiuant les reigles & doctrine de
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Jacques
Androuet du Cerceau was a favourite architect of Catherine's. Like Bullant, he became a more fantastical designer with time. Nothing he built himself, however, has survived. He is known instead for his engravings of the leading architectural schemes of the day, including Saint-Maur, the
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was the first palace that
Catherine had planned from the ground up. It was to grow into the largest royal building project of the last quarter of the sixteenth century in western Europe. Her massive building schemes would have transformed western Paris, as seen from the river, into a monumental
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joined to two halls that flank the original house. These drawings may not be a reliable record of
Bullant's plans. Du Cerceau "sometimes inserted in his book designs embodying ideas which he himself would have liked to see carried out rather than those of the actual designer of the building in
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De l'Orme died in 1570; in 1575 an unknown architect took over at Saint-Maur. The new man proposed to heighten the pavilions on the garden side and top them with pitched roofs. He also planned two more arches over de l'Orme's terrace, which joined the pavilions on the garden side. In historian
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Catherine loved to supervise each project personally. The architects of the day dedicated books to her, knowing that she would read them. Though she spent colossal sums on the building and embellishment of monuments and palaces, little remains of
Catherine's investment today: one
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Several of the monuments built for the Valois chapel have survived. These include the tomb of Catherine and Henry, in Zerner's view, "the last and most brilliant of the royal tombs of the Renaissance". Primaticcio himself designed its structure, which eliminated the traditional
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royal court of France. Her father-in-law impressed Catherine deeply as an example of what a monarch should be. She later copied Francis' policy of setting the grandeur of the dynasty in stone, whatever the cost. His lavish building projects inspired her own.
988:. Now Catherine set out to efface or outdo her former rival's work. She lavished vast sums on the house and built two galleries on the extension over the bridge. The architect was almost certainly Bullant. The decorations show the fantasy of his late style.
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Catherine spent ruinous sums of money on buildings at a time of plague, famine, and economic hardship in France. As the country slipped deeper into anarchy, her plans grew ever more ambitious. Yet the Valois monarchy was crippled by debt and its
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I will not go on to other matters without pointing out to you that I chose the present Ionic order, from amongst all others, in order to ornament and to give lustre to the palace, which Her Majesty the Queen, mother of the most Christian King
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Catherine de' Medici was closely involved in planning and supervising the building. De l'Orme records, for example, that she told him to take down some Ionic columns that struck her as too plain. She also insisted on large panels between the
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After de l'Orme died in 1570, Catherine abandoned his design for a freestanding house with courtyards. To his unfinished wing she added a pavilion that extended the building towards the river. This was built in a less experimental style by
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of Catherine and Henry wearing their crowns and coronation robes. In this case, he portrays Catherine realistically, with a double chin. These two statues were intended to flank the altar of the chapel. Pilon's four bronze statues of the
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Academic website containing texts, drawings, and bibliographical material about sixteenth- and seventeenth-century French architects, including Philibert de l'Orme, Jacques Androuet du Cerceau, and Jean Bullant. A large-scale project in
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to illustrate the poem. The drawings were subsequently turned into tapestries, none of which survive; but, according to Knecht, fifty-nine of the drawings survive. Hoogvliet, 108, on the other hand, says that sixty-eight of the drawings
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Architecture de Philibert de L'Orme. Oeuvre entiere contenant unze livres, augmentée de deux; & autres figures non encores veuës, tant pour desseins qu'ornemens de maison. Avec une belle invention pour bien bastir, & à petits
249:, it became the dominant decorative fashion in France in the second half of the sixteenth century. Catherine later herself employed Primaticcio to design her Valois chapel. She also patronised French talent, such as the architects
677:'s text ... accordingly I have made use, at the palace of Her Majesty the Queen, of the Ionic order, on the view that it is delicate and of greater beauty than the Doric, and more ornamented and enriched with distinctive features.
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Pilon had by this time developed a freer style of sculpture than previously seen in France. Earlier French sculpture seems to have influenced him less than Primaticcio's decorations at Fontainebleau: the work of his predecessor
561:, for example, is more linear and classical. Pilon openly depicts extreme emotion in his work, sometimes to the point of the grotesque. His style has been interpreted as a reflection of a society torn by the conflict of the
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led the work. Du Cerceau made minor alterations to Bullant's designs and completed the walls to the top of the second story when construction was abandoned in 1585. The chapel was demolished in the early 18th century.
1872:• Pons, 79. Counts Jérome and Charles Pozzo di Borgo bought sections of the ruins during the demolition of the Tuileries in 1883 and used them to construct the Château de la Punta in Corsica, overlooking the gulf of
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the classical style—lucid, rational and regular". He notes, however, that in this case he added rich materials and ornaments to please the queen. The plans therefore include a decorative element that looks forward to
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that could be dismantled in winter. The actual construction work was carried out after Bullant's death in 1582. The building was demolished in the 1760s. All that remains of the HĂ´tel de la Reine today is a single
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De l'Orme recorded that Catherine told him "to make several encrustations of different kinds of marble, gilded bronze and of minerals, like marcassites" on both the inside and the outside of the building. Knecht,
152:). There she watched the leading artists and architects of the day at work in the city. When she later commissioned buildings herself, in France, Catherine often turned to Italian models. She based the
424:, who had provided statues for the tomb of Francis I, carved the tomb's two sets of effigies, which represented death below and eternal life above. The King and Queen, cast in bronze, kneel in prayer (
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brought English diplomats to the gardens to "see the designs of his mother", and they dined in a slated-roofed open-sided pavilion or banqueting house. According to the French military leader
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in coloured marble. The building would contain six other chapels circling the tomb of Henry and Catherine. Primaticcio's circular design solved the problems faced by the Giusti brothers and
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husband. She had emblems of her love and grief carved into the stonework of her buildings. She commissioned a magnificent tomb for Henry, as the centrepiece of an ambitious new chapel.
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were butchered in Paris. The gardens had been laid out before work on the palace halted. They included canals, fountains, and a grotto decorated with glazed animals by the potter
2028:, of whom he writes: "In these last years, Bullant's desire for the colossal seems to have grown greater, and in this case it could not be harmonized with the existing building".
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870:, emptied of its contents, and its terrains divided up among real-estate speculators. The structure was demolished for the value of its materials; virtually nothing remains.
1159:" (12 May 1588), in which a mob took over the streets of Paris, "reduced the authority and prestige of the monarchy to its lowest ebb for a century and a half". Morris, 260.
577:, near Paris, which Henry II gave her in 1556, three years before his death. The building consisted of a central pavilion housing a straight staircase, and two wings with a
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show that the columns, pilasters, dormers and tabernacles of the Tuileries were the outstanding masterpieces of non-figurative French Renaissance architectural sculpture".
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in about 1650 and a plan from about 1700 show that the HĂ´tel de la Reine possessed a central wing, a courtyard, and gardens. The walled gardens of the hĂ´tel included an
292:, as a tomb for her dead husband. Artemesia had also acted as regent for her children. Houël laid stress on Artemesia's devotion to architecture. In his dedication to
827:, south east of Paris, was another of Catherine's unfinished projects. She bought this building, on which Philibert de l'Orme had worked, from the heirs of Cardinal
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was originally commissioned to carve the queen's corpse, but his effort, in which Catherine looks emaciated, was left unfinished in 1566 and is now in the Louvre.
1047:, a beautiful publication dedicated to Catherine. His work is an invaluable record of buildings that were never finished or were later substantially altered.
136:, "she was driven by a passion to build and a desire to leave great achievements behind her when she died." Born in Florence in 1519, Catherine lived at the
738:, to mark proportion. Some commentators have interpreted his different approach as a criticism of de l'Orme's departures from the style of Roman monuments.
890:: the central and right-hand sections are those built during Catherine's lifetime. The Colonne de l'Horoscope can be seen in the background, to the right.
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Despite its unfinished state, Catherine often visited the palace. She held banquets and festivities there and loved to walk in the gardens. In June 1572,
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King Francis set his daughter-in-law an example of kingship and artistic patronage that she never forgot. She witnessed his huge architectural schemes at
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write an account of it. He concluded that plague resulted from poisoning of the air and was "often sent by the just anger of God punishing our offences".
862:. The work was only partly carried out, and the house was never fit for Catherine to live in. The Château de Saint-Maur, still in the possession of the
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was in steep decline. The popular view condemned Catherine's building schemes as obscenely extravagant. This was especially true in Paris, where the
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Zerner, 383. Whereas the "Resurrection" for the tomb of Francis I was positioned close to the corpses, this design would have involved the visitor.
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338:, who had worked for Henry at Fontainebleau. Primaticcio designed the chapel as a round building, crowned by a dome, to be joined to the north
1346:"Catherine's lifelong mourning was not only a manner to express grief: it was also the legitimisation of her political role." Hoogvliet, 106.
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in 1589, a few months after her own, brought the Valois dynasty to an end. Precious little of Catherine's grand building work has survived.
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Thomson, 168. In June 1565 and September 1581, Catherine had temporary oval structures built to house entertainments for state occasions.
1716:, 104. Catherine planned a grid of streets to replace the palace, with houses designed by de l'Orme, but the work was never carried out.
1778:• Randall, 82–84. The reasons for de l'Orme's disgrace are not clear, but it seems that he was prone to arrogance and had made enemies.
969:. She had not forgotten that Henry had given this crown property to Diane instead of to her. In return, she gave Diane the less prized
148:. After moving to Rome in 1530, she lived, surrounded by classical and Renaissance treasures, at another Medici palace (now called the
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now stands in the church of St Jean and St François. In art historian Anthony Blunt's view, it marks a departure from the tension of
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Thomson, 173. The reliefs on the arches of the Petite Galerie, like those on the court front of the Louvre, symbolise the might and
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Hoogvliet, 111. Some scholars believe that the intertwined letter Cs may also refer to crescent moons, the emblem of Henry's lover
322:, where the kings of France were traditionally buried. As the centrepiece of this circular chapel, sometimes known as the Valois
831:, after the latter's death in 1560. She then commissioned de l'Orme to finish the work he had begun there. Drawings by Jacques
624:. To replace the Tournelles, she decided in 1563 to build herself a new Paris residence on the site of some old tile kilns or
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The new palace was known in Catherine's time as the HĂ´tel de la Reine and later as the HĂ´tel de Soissons. Engravings made by
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may shed light on Catherine's intentions for Saint-Maur. They show a plan to enlarge each wing by doubling the size of the
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According to Thomson, "The surviving portions of the palace scattered between the Tuileries gardens, the courtyards of the
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Drawing of how the tomb of Henry II and his wife originally looked; it shows the Effigies at top and the double tomb below
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Edited by Martin Gosman, Alasdair A. MacDonald, and Arie Johan Vanderjagt. Leiden and Boston, MA: Brill Academic, 2003.
628:. The site was close to the congested Louvre, where she kept her household. The grounds extended along the banks of the
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Thomson, 173–4. The only elements Bullant harmonised with de l'Orme's work were the ground-floor Ionic columns and the
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of the Valois monarchy. Those of de l'Orme at the Tuileries are purely classical in style and follow the principles of
1720:, who ruled France from 1589 to 1610, later constructed a square on the site called the Place Royale, now known as the
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Work on the chapel began in 1563 and continued over the next two decades. Primaticcio died in 1570, and the architect
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In the 1580s, Pilon began work on statues for the chapels that were to circle the tomb. Among these, the fragmentary
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Journal of the Warburg and Courtauld Institutes, Vol. 22, No. 1/2 (Jan.–Jun., 1959), 71–87. Retrieved 29 March 2008.
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Close up of the Effigies on the tomb of Henry II and Catherine de' Medici at the Basilica of Saint-Denis, carved by
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Cunningham, 280–81. So widespread and serious was the plague of 1565, for example, that Catherine had the surgeon
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Knecht, 230. Between 1575 and 1583, for example, the number of Catherine's ladies-in-waiting rose from 68 to 111.
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panels gives the effect of blurrier lines than in the more classical works de l'Orme had designed for Henry II.
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937:. Catherine's biographer Leonie Frieda has called it "a poignant reminder of the fleeting nature of power".
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Vitruue; au proffit de tous ouvriers besongnans au compas & à l'esquierre a Escouën par Iehan Bullant.
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533:, was designed to face the tomb of Catherine and Henry from a side chapel. This work owes a clear debt to
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100:. She saw Italian and French craftsmen at work together, forging the style that became known as the first
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from disgrace. This arrogant genius had been sacked as superintendent of royal buildings at the end of
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set fire to the remainder in 1871. Twelve years later, the ruins were demolished and then sold off.
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Catherine loved gardens and often conducted business in them. At Chenonceau, she added waterfalls,
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others that you have constructed, built, and embellished with sculptures and beautiful paintings.
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1772:, London, 1958), that Catherine may have been moved to rehabilitate de l'Orme after reading his
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next to the main block of the house. The house was to stay as one storey, with a flat roof and
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stand at the corners of the tomb. Pilon also carved the reliefs round the base that recall
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Architectura: Les Livres d'Architecture. Architecture, Textes et Images, XVI–XVII siècles.
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The Four Horsemen of the Apocalypse: Religion, War, Famine and Death in Reformation Europe
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858:'s view, the scheme would have given this part of the house, a "colossal, even grotesque"
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Translated by Deke Dusinberre, Scott Wilson, and Rachel Zerner. Paris: Flammarion, 2003.
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gripped the country and brought the prestige of the monarchy to a dangerously low ebb.
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Diane had carried out major works at Chenonceau, such as de l'Orme's bridge over the
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for Catherine and reinforced her right to serve as regent. The later female regents
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Knecht, 233. Ronsard addressed these lines to the financial official Raoul Moreau.
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of the basilica. The interior and exterior of the chapel were to be decorated with
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1776:, in which he defended himself against all charges and pleaded for fair treatment.
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at each end. Catherine wanted to cover the alley in the garden where Henry played
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Architecture and Panelling: The James. A. Rothschild Bequest at Waddesdon Manor
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537:, who had designed the tomb and funerary statues for Catherine's father at the
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Ronsard was in many ways proved correct. The death of Catherine's beloved son
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and an incident in which de l'Orme and his brother killed two men in a brawl.
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worked on the interior, alongside French craftsmen. This meeting of Italian
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2315:. English language edition edited by Lawrence D. Kritzman and translated by
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Babelon, Jean-Pierre. "The Louvre: Royal Residence and Temple of the Arts".
620:, where Henry had lain after a lance fatally pierced his eye and brain in a
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Historians often assume that Catherine's love for the arts stemmed from her
61:. Born in 1519 in Florence, Catherine de' Medici was a daughter of both the
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Catherine, however, left Italy in 1533 at the age of fourteen and married
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heritage. "As the daughter of the Medici," suggests French art historian
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Realms of Memory: The Construction of the French Past. Vol. III: Symbols
1780:• Zerner, 402. Zerner, who calls him "haughty", mentions allegations of
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Tuileries, and Chenonceau. In 1576 and 1579, he produced the two-volume
780:. This was a grand ball for the Polish envoys who had come to offer the
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into one of the great palaces of Europe, a project that continued under
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in Florence; and she originally planned the HĂ´tel de la Reine with the
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of an enlarged project of 1578–1579 for the Tuileries, with oval halls
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took over the project two years later. After Bullant's death in 1578,
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and French patronage bred an original style, later known as the first
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scheme and its gardens, she had an entire area of Paris demolished.
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230:
318:
In memory of Henry II, Catherine decided to add a new chapel to the
2630:
2597:
Building Codes: The Aesthetics of Calvinism in Early Modern Europe.
1858:
1019:
921:
859:
847:
808:
657:
621:
616:
After the death of Henry II, Catherine abandoned the palace of the
347:
343:
339:
273:
2655:
Form and Decoration: Innovation in the Decorative Arts, 1470–1870.
2488:
Hoogvliet, Margriet. "Princely Culture and Catherine de MĂ©dicis".
632:
and afforded a view of the countryside to the south and west. The
197:
Francis was a compulsive builder. He began extension works at the
1934:
1873:
1180:) the buildings which it pleases you to commission". Knecht, 228.
933:, which stood in the courtyard. It can be seen next to the domed
692:
586:
550:
19:
2082:
Plan of the HĂ´tel de la Reine, from an engraving of about 1700.
1930:
1854:
1599:
1015:
917:
722:, who ruled from 1589 to 1610, to add the second floor and the
683:
590:
530:
441:
242:
238:
161:
129:
70:
653:'s later work and to a less classical style of architecture.
81:. In 1533, at the age of fourteen, she left Italy and married
1453:
L'art de la Renaissance en France. L'invention du classicisme
1371:
of 1560, was the first to call Catherine the "new Artemisia".
949:
Catherine had two galleries built on Diane's bridge over the
887:
629:
268:
Initials of Henry II and Catherine on a chimney at Chenonceau
58:
1768:
Knecht, 229. Historian R. J. Knecht suggests, (after Blunt,
977:
drawn on the floor. She quickly withdrew to her château of
280:
In 1562, a long poem by Nicolas Houël likened Catherine to
2386:
Paris: Hierosme de Marnef & Guillaume Cauellat, 1568.
1380:
Quoted by Knecht, 224. Catherine commissioned the artists
878:
2612:
The Illustrated Dictionary of Architecture and Architects
1840:
measurements of width and length". Quoted by Knecht, 228.
69:. She grew up in Florence and Rome under the wing of the
2420:
Translated by Deke Dusinberre. Paris: Flammarion, 1995.
1403:(1643–60) revived this iconography in their own service.
2670:
Renaissance Art in France. The Invention of Classicism.
2351:. New Haven, CT: Yale University Press, 1999 edition.
589:. For this commission, Philibert de l'Orme built her a
2599:
Philadelphia: University of Pennsylvania Press, 1999.
1030:
made drawings of a grandiose scheme for Chenonceau. A
764:, it was in the Tuileries Garden that she planned the
710:
De l'Orme's original plans have not survived. Jacques
2638:
Renaissance Paris: Architecture and Growth, 1475-1600
2072:, included the HĂ´tel Guillart and the HĂ´tel d'Albret.
1598:
Knecht, 227. Henry's gesture is now unclear, since a
961:
In 1576, Catherine decided to enlarge her château of
2332:
Villas and Gardens in Early Modern Italy and France.
609:, designed by Philibert de l'Orme, drawn by Jacques
334:To lead the Valois chapel project, Catherine chose
16:
Series of French Renaissance architectural projects
1367:Frieda, 266; Hoogvliet, 108. Louis Le Roy, in his
420:and kept ornamentation to a minimum. The sculptor
2735:
2642:Berkeley: University of California Press, 1984.
1636:(1531) and carved the soldiers in Michelangelo's
1324:(the crescent moon was the symbol of the goddess
1034:lower court leads to a forecourt of semicircular
640:To design the new palace, Catherine brought back
453:work on the monument for the heart of Francis I.
3124:
1391:• Frieda, 266. The story of Artemisia formed an
718:, was completed in her lifetime. It was left to
2442:. Cambridge: Cambridge University Press, 2000.
2292:Châteaux de France au siècle de la Renaissance.
1369:Ad illustrissimam reginam D. Catherinam Medicem
1284:, were continued by the last four Valois kings.
929:column, known as the Colonne de l'Horoscope or
440:back. From 1583, Pilon also sculpted two later
37:was patron for building projects including the
2478:Histoire de l'architecture classique en France
1455:(Zerner, 1996: 349–54), quoted by Knecht, 227.
573:Catherine's earliest building project was the
2721:
2334:Cambridge: Cambridge University Press, 2001.
2319:. New York: Columbia University Press, 1998.
1485:
1483:
1066:was often asked to contribute to her costs.
796:was to dismantle sections of the palace. The
116:column, a few fragments in the corner of the
2567:
2520:Europe and England in the Sixteenth Century.
2476:
2399:
2379:
2290:
2037:Knecht, 231. The terrace was supported by a
1113:Catherine de' Medici's patronage of the arts
1089:It will be deserted within a hundred years.
752:, in an engraving of 1725 by Michel FĂ©libien
245:in the shape of parchment or curled leather
2205:, 91. The original drawings are now in the
2119:
2117:
1976:
1974:
1972:
1970:
1354:
1352:
1241:
1239:
1079:Her lime must stop swallowing our wealth...
660:of Catherine's palace, de l'Orme chose the
480:Tomb of Henry II and Catherine de' Medici,
370:Architectural designs for the Valois Chapel
2728:
2714:
2627:Catherine de Medici and the Ancien RĂ©gime.
1732:
1730:
1480:
1193:accused her of preferring masons to poets.
1081:Painters, masons, engravers, stone-carvers
213:in 1539. He also transformed the lodge at
2657:London: Weidenfeld & Nicolson, 2000.
2438:Cunningham, Andrew, and Ole Peter Grell.
2401:Les plus excellents bastiments de France.
2349:Art and Architecture in France: 1500–1700
2162:
2160:
1133:
1131:
1129:
1127:
457:Tomb of Henri II and Catherine de' Medici
2490:Princes and Princely Culture, 1450–1650.
2405:Paris: Sand & Conti, 1988 edition.
2274:. Stuttgart: Edition Axel Menges, 2004.
2114:
2068:Frieda, 335. The area, in the parish of
1967:
1581:
1579:
1349:
1236:
1045:Les Plus Excellents Bastiments de France
990:
944:
893:
877:
807:
740:
697:
600:
508:
309:
263:
166:
18:
2418:French Art: The Renaissance, 1430–1620.
2135:
1954:, series 2 vol. 3 (London, 1827), p. 18
1727:
981:and never set foot in Chaumont again.
664:, which he considered a feminine form:
201:, He added a wing to the old castle at
3125:
2629:London: Historical Association, 1966.
2549:Cambridge, MA: Da Capo, 2001 edition.
2522:London and New York: Routledge, 1998.
2157:
2044:
1813:
1811:
1809:
1276:, 80. These extensions, supervised by
1124:
1108:Catherine de' Medici's court festivals
1083:Drain the treasury with their deceits.
3011:St. Bartholomew's Day massacre (1572)
3006:Peace of Saint-Germain-en-Laye (1570)
2805:Margaret, Queen of France and Navarre
2751:Lorenzo II de' Medici, Duke of Urbino
2709:
1576:
1050:
784:to her son, the duke of Anjou, later
726:that finally linked the two palaces.
314:The Valois Chapel in the 17th century
3109:
2574:Ridgewood, NJ: Gregg Press, 1964.
2507:London and New York: Longman, 1998.
1937:between the first and ground floors.
1018:, laid out three parks, and planted
873:
2433:"The Chateau of Montceaux-en-Brie."
1806:
1645:
1280:and featuring relief sculptures by
1085:Of what use is her Tuileries to us?
13:
3133:Renaissance architecture in France
2024:, 89, believes this architect was
1701:"The Chateau of Montceaux-en-Brie"
1519:may have influenced their carving.
1087:Of none, Moreau; it is but vanity.
792:later added to the Tuileries; but
381:Plan showing the chapel's location
290:Seven Wonders of the Ancient World
14:
3184:
2685:
1755:shows the complex in 1615, after
3108:
2547:Great Architecture of the World.
2535:The Age of Catherine de' Medici.
2296:Paris: Flammarion/Picard, 1989.
1628:, 95. Pilon based the Christ on
1564:somewhat pagan". Zerner, 382–83.
605:Detail of the court side of the
489:
473:
461:
398:
386:
374:
305:
294:L'Histoire de la Royne Arthémise
205:, and built the vast château of
53:in Paris, and extensions to the
3148:Burial monuments and structures
2757:Madeleine de la Tour d'Auvergne
2584:. London: Philip Wilson, 2001.
2247:
2238:
2225:
2212:
2195:
2182:
2169:
2148:
2126:
2105:
2096:
2087:
2075:
2062:
2053:
2031:
2014:
2001:
1992:
1983:
1958:
1940:
1923:
1914:
1897:
1888:
1879:
1864:
1843:
1833:
1824:
1796:
1787:
1762:
1739:
1706:
1693:
1684:
1671:
1658:
1618:
1609:
1592:
1567:
1557:
1544:
1535:
1522:
1501:
1492:
1467:
1458:
1446:
1433:
1424:
1415:
1406:
1374:
1361:
1340:
1331:
1314:
1305:
1296:
1287:
1266:
1263:Frieda, 79, 455; Sutherland, 6.
1257:
1248:
691:and the Château de la Punta in
541:in Florence. Pilon's statue of
329:
2220:Art and Architecture in France
2203:Art and Architecture in France
2190:Art and Architecture in France
2143:Art and Architecture in France
2022:Art and Architecture in France
2009:Art and Architecture in France
1851:Art and Architecture in France
1819:Art and Architecture in France
1714:Art and Architecture in France
1679:Art and Architecture in France
1666:Art and Architecture in France
1653:Art and Architecture in France
1626:Art and Architecture in France
1587:Art and Architecture in France
1552:Art and Architecture in France
1509:Art and Architecture in France
1475:Art and Architecture in France
1441:Art and Architecture in France
1274:Art and Architecture in France
1227:
1218:
1209:
1196:
1183:
1162:
1149:
1140:
1077:The queen must cease building,
866:, was nationalised during the
766:St. Bartholomew's Day massacre
1:
2981:Edict of Saint-Germain (1562)
2971:Siege of Florence (1529–1530)
2898:Charles, Cardinal of Lorraine
2537:London: Jonathan Cape, 1945.
2396:Du Cerceau, Jacques Androuet.
2263:
1172:wrote: "your good judgement (
1072:captured the mood in a poem:
940:
803:
549:and "almost foreshadows" the
484:, with marble effigies on top
211:Charles V, Holy Roman Emperor
123:
1885:Knecht, 229; Thomson 165–66.
886:of the HĂ´tel de la Reine in
596:
575:Château de Montceaux-en-Brie
568:
7:
3158:French architecture writers
3001:Treaty of Longjumeau (1568)
2781:Claude, Duchess of Lorraine
2175:Knecht, 232, quotes Blunt,
1101:
1004:Jacques Androuet du Cerceau
504:
272:The death of Henry II from
10:
3189:
2950:Admiral Gaspard de Coligny
2650:. Retrieved 21 March 2008.
2614:. London: Headline, 1991.
2366:. London: Zwemmer, 1958.
1511:, 94. Blunt believes that
901:
286:Mausoleum at Halicarnassus
3106:
3080:
3029:
2976:Colloquy of Poissy (1561)
2963:
2888:Cardinal Silvio Passerini
2868:
2825:
2775:Elisabeth, Queen of Spain
2743:
2272:The Architecture of Paris
2255:Au tresorier de l'esparne
393:Plan of the Valois Chapel
209:, which he showed off to
185:, the second son of King
85:, the second son of King
3021:Edict of Beaulieu (1576)
2996:Surprise of Meaux (1567)
2986:Massacre of Vassy (1562)
2920:Louis I, Prince of Condé
2482:. Paris: Picard, 1943.
1254:Knecht 176; Frieda, 199.
1118:
998:planned enlargements at
768:, in which thousands of
3057:Palace of Fontainebleau
3042:Basilica of Saint-Denis
3037:Palazzo Medici Riccardi
3016:French Wars of Religion
2991:Edict of Amboise (1563)
2860:French Catholic Leagues
2460:London: Phoenix, 2005.
2041:, a covered passageway.
1830:Quoted by Thomson, 169.
563:French Wars of Religion
513:Surviving fragments of
482:Basilica of Saint-Denis
410:
320:Basilica of Saint-Denis
235:School of Fontainebleau
102:School of Fontainebleau
43:Basilica of Saint-Denis
2945:Henry I, Duke of Guise
2915:Francis, Duke of Guise
2811:Francis, Duke of Anjou
2787:Louis, Duke of Orléans
2568:
2477:
2400:
2380:
2291:
2288:Babelon, Jean-Pierre.
2179:(London, 1958), 89–91.
1189:Knecht, 228. The poet
1178:protraire et esquicher
1092:
1007:
958:
899:
891:
820:
813:Château de Saint-Maur,
753:
707:
679:
613:
522:
315:
303:
296:, he told Catherine:
269:
178:
30:
3143:Architectural history
3047:Château de Chenonceau
2940:Jeanne III of Navarre
2935:Claude, Duke of Guise
2564:L'Orme, Philibert de.
2544:Norwich, John Julius.
2505:Catherine de' Medici.
1849:Thomson, 171; Blunt,
1530:Girolamo della Robbia
1157:Day of the Barricades
1074:
994:
948:
897:
881:
825:Saint-Maur-des-Fossés
811:
744:
701:
666:
604:
543:St Francis in Ecstasy
512:
336:Francesco Primaticcio
313:
298:
267:
227:Francesco Primaticcio
170:
55:Château de Chenonceau
22:
3173:Catherine de' Medici
3114:Catherine de' Medici
2903:Mary, Queen of Scots
2793:Charles IX of France
2769:Francis II of France
2737:Catherine de' Medici
2595:Randall, Catharine.
2458:Catherine de Medici.
1550:Zerner, 379; Blunt,
1002:(c. 1572), drawn by
882:A 1650 engraving by
758:Charles IX of France
689:École des Beaux-Arts
284:, who had built the
35:Catherine de' Medici
24:Catherine de' Medici
3062:Notre-Dame de Paris
2925:Michel de l'HĂ´pital
2799:Henry III of France
2610:Sharp, Dennis, ed.
2364:Philibert de l'Orme
2177:Philibert de l'Orme
1770:Philibert de l'Orme
1382:Niccolò dell'Abbate
1170:Philibert de l'Orme
1028:Androuet du Cerceau
833:Androuet du Cerceau
817:Philibert de l'Orme
786:Henry III of France
712:Androuet du Cerceau
704:Androuet du Cerceau
702:Drawing by Jacques
642:Philibert de l'Orme
611:Androuet du Cerceau
585:, an early form of
363:Baptiste du Cerceau
352:Philibert de l'Orme
257:, and the sculptor
251:Philibert de l'Orme
187:Francis I of France
172:Château de Chambord
134:Jean-Pierre Babelon
106:religious civil war
87:Francis I of France
3153:Châteaux in France
3138:French Renaissance
3081:Patron of the arts
3030:Places in her life
2930:Antoine of Navarre
2909:Philip II of Spain
2876:Clarice de' Medici
2869:People in her life
2828:Groups in her life
2763:Henry II of France
2625:Sutherland, N. M.
2474:Hautecœur, Louis.
1853:, 55. The way the
1051:End of the dynasty
1008:
959:
935:Bourse de commerce
900:
892:
821:
754:
708:
614:
523:
316:
270:
221:. Artists such as
179:
67:French Renaissance
31:
3120:
3119:
3093:Building projects
3052:Château d'Amboise
2955:Diane de Poitiers
2905:(daughter-in-law)
2653:Thornton, Peter.
2317:Arthur Goldhammer
1515:'s Fontainebleau
1513:Benvenuto Cellini
1322:Diane de Poitiers
1070:Pierre de Ronsard
967:Diane de Poitiers
904:HĂ´tel de Soissons
874:HĂ´tel de la Reine
868:French Revolution
778:Valois Tapestries
164:Palace in mind.
142:Cosimo de' Medici
51:HĂ´tel de la Reine
33:The French queen
3180:
3112:
3111:
3072:Château of Blois
3067:Palais du Louvre
2882:Pope Clement VII
2845:House of Bourbon
2730:
2723:
2716:
2707:
2706:
2693:
2635:Thomson, David.
2572:
2562:
2480:
2473:
2431:Coope, Rosalys.
2403:
2394:
2384:
2374:
2362:Blunt, Anthony.
2294:
2287:
2258:
2251:
2245:
2242:
2236:
2229:
2223:
2216:
2210:
2199:
2193:
2186:
2180:
2173:
2167:
2164:
2155:
2152:
2146:
2139:
2133:
2130:
2124:
2121:
2112:
2109:
2103:
2100:
2094:
2091:
2085:
2079:
2073:
2066:
2060:
2057:
2051:
2048:
2042:
2035:
2029:
2018:
2012:
2005:
1999:
1996:
1990:
1987:
1981:
1978:
1965:
1962:
1956:
1952:Original Letters
1944:
1938:
1927:
1921:
1918:
1912:
1901:
1895:
1892:
1886:
1883:
1877:
1868:
1862:
1847:
1841:
1837:
1831:
1828:
1822:
1815:
1804:
1800:
1794:
1791:
1785:
1766:
1760:
1743:
1737:
1734:
1725:
1722:Place des Vosges
1710:
1704:
1697:
1691:
1690:Knecht, 228–229.
1688:
1682:
1675:
1669:
1662:
1656:
1649:
1643:
1622:
1616:
1613:
1607:
1596:
1590:
1583:
1574:
1571:
1565:
1561:
1555:
1548:
1542:
1539:
1533:
1526:
1520:
1505:
1499:
1496:
1490:
1487:
1478:
1471:
1465:
1462:
1456:
1450:
1444:
1437:
1431:
1428:
1422:
1419:
1413:
1410:
1404:
1397:Marie de' Medici
1378:
1372:
1365:
1359:
1356:
1347:
1344:
1338:
1335:
1329:
1318:
1312:
1309:
1303:
1300:
1294:
1291:
1285:
1270:
1264:
1261:
1255:
1252:
1246:
1243:
1234:
1231:
1225:
1222:
1216:
1213:
1207:
1200:
1194:
1187:
1181:
1166:
1160:
1153:
1147:
1144:
1138:
1135:
914:Israel Silvestre
884:Israël Silvestre
762:Marshal Tavannes
748:pavilion at the
736:classical orders
493:
477:
465:
447:cardinal virtues
402:
390:
378:
241:and high-relief
223:Rosso Fiorentino
183:Henry of Orléans
174:, built by King
118:Tuileries Garden
47:Tuileries Palace
3188:
3187:
3183:
3182:
3181:
3179:
3178:
3177:
3168:House of Valois
3163:House of Medici
3123:
3122:
3121:
3116:
3102:
3098:Court Festivals
3076:
3025:
2959:
2878:(paternal aunt)
2864:
2840:House of Valois
2835:House of Medici
2827:
2821:
2739:
2734:
2691:
2688:
2683:
2668:Zerner, Henri.
2560:
2471:
2392:
2372:
2346:Blunt, Anthony.
2285:
2270:Ayers, Andrew.
2266:
2261:
2252:
2248:
2243:
2239:
2230:
2226:
2217:
2213:
2200:
2196:
2187:
2183:
2174:
2170:
2165:
2158:
2153:
2149:
2140:
2136:
2131:
2127:
2122:
2115:
2110:
2106:
2101:
2097:
2093:Thomson, 176–7.
2092:
2088:
2080:
2076:
2067:
2063:
2058:
2054:
2049:
2045:
2036:
2032:
2019:
2015:
2006:
2002:
1997:
1993:
1988:
1984:
1979:
1968:
1963:
1959:
1945:
1941:
1928:
1924:
1919:
1915:
1905:moral authority
1902:
1898:
1893:
1889:
1884:
1880:
1871:
1869:
1865:
1848:
1844:
1838:
1834:
1829:
1825:
1816:
1807:
1801:
1797:
1792:
1788:
1779:
1777:
1767:
1763:
1753:Matthäus Merian
1746:
1744:
1740:
1735:
1728:
1711:
1707:
1698:
1694:
1689:
1685:
1676:
1672:
1663:
1659:
1650:
1646:
1634:Noli me tangere
1632:'s cartoon for
1623:
1619:
1614:
1610:
1602:, resting on a
1597:
1593:
1584:
1577:
1573:Knecht, 226–27.
1572:
1568:
1562:
1558:
1549:
1545:
1540:
1536:
1528:Zerner 383–84.
1527:
1523:
1506:
1502:
1497:
1493:
1488:
1481:
1472:
1468:
1463:
1459:
1451:
1447:
1438:
1434:
1430:Hoogvliet, 109.
1429:
1425:
1420:
1416:
1411:
1407:
1401:Anne of Austria
1390:
1379:
1375:
1366:
1362:
1357:
1350:
1345:
1341:
1336:
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1319:
1315:
1310:
1306:
1301:
1297:
1292:
1288:
1271:
1267:
1262:
1258:
1253:
1249:
1244:
1237:
1233:Hautecœur, 523.
1232:
1228:
1223:
1219:
1214:
1210:
1201:
1197:
1188:
1184:
1167:
1163:
1154:
1150:
1145:
1141:
1136:
1125:
1121:
1104:
1091:
1088:
1086:
1084:
1082:
1080:
1078:
1058:moral authority
1053:
943:
906:
876:
819:
814:
806:
782:crown of Poland
774:Bernard Palissy
599:
571:
507:
500:
494:
485:
478:
469:
466:
413:
406:
403:
394:
391:
382:
379:
346:, columns, and
332:
308:
126:
28:François Clouet
17:
12:
11:
5:
3186:
3176:
3175:
3170:
3165:
3160:
3155:
3150:
3145:
3140:
3135:
3118:
3117:
3107:
3104:
3103:
3101:
3100:
3095:
3090:
3084:
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3078:
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3074:
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3064:
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3049:
3044:
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3033:
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3027:
3026:
3024:
3023:
3018:
3013:
3008:
3003:
2998:
2993:
2988:
2983:
2978:
2973:
2967:
2965:
2961:
2960:
2958:
2957:
2952:
2947:
2942:
2937:
2932:
2927:
2922:
2917:
2912:
2906:
2900:
2895:
2890:
2885:
2879:
2872:
2870:
2866:
2865:
2863:
2862:
2857:
2852:
2850:House of Guise
2847:
2842:
2837:
2831:
2829:
2823:
2822:
2820:
2819:
2814:
2808:
2802:
2796:
2790:
2784:
2778:
2772:
2766:
2760:
2754:
2747:
2745:
2741:
2740:
2733:
2732:
2725:
2718:
2710:
2702:
2701:
2687:
2686:External links
2684:
2682:
2681:
2666:
2651:
2633:
2623:
2608:
2593:
2578:
2558:
2541:
2539:OCLC 39949296.
2531:
2518:Morris, T. A.
2516:
2503:Knecht, R. J.
2501:
2486:
2469:
2454:Frieda, Leonie
2451:
2436:
2429:
2414:
2390:
2388:OCLC 20861874.
2376:Bullant, Jean.
2370:
2360:
2343:
2330:Benes, Mirka.
2328:
2305:
2283:
2267:
2265:
2262:
2260:
2259:
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2211:
2207:British Museum
2194:
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2095:
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2070:Saint-Eustache
2061:
2052:
2043:
2039:cryptoporticus
2030:
2013:
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1991:
1982:
1966:
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1399:(1610–20) and
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1330:
1313:
1304:
1295:
1286:
1265:
1256:
1247:
1235:
1226:
1224:Frieda, 30–31.
1217:
1208:
1195:
1182:
1168:The architect
1161:
1148:
1139:
1122:
1120:
1117:
1116:
1115:
1110:
1103:
1100:
1075:
1052:
1049:
996:Jean Bullant's
942:
939:
902:Main article:
875:
872:
856:Roberrt Knecht
837:British Museum
829:Jean du Bellay
823:The palace of
812:
805:
802:
746:Jean Bullant's
724:Grande Galerie
716:Petite Galerie
598:
595:
570:
567:
539:Medici Chapels
506:
503:
502:
501:
495:
488:
486:
479:
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397:
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385:
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380:
373:
371:
331:
328:
307:
304:
150:Palazzo Madama
144:to designs by
125:
122:
41:chapel at the
15:
9:
6:
4:
3:
2:
3185:
3174:
3171:
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3141:
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2719:
2717:
2712:
2711:
2708:
2704:
2698:
2697:
2690:
2689:
2679:
2678:2-08-011144-2
2675:
2671:
2667:
2664:
2663:0-297-82488-0
2660:
2656:
2652:
2649:
2648:0-520-05347-8
2645:
2641:
2639:
2634:
2632:
2631:OCLC 1018933.
2628:
2624:
2621:
2620:0-7472-0271-0
2617:
2613:
2609:
2606:
2605:0-8122-3490-1
2602:
2598:
2594:
2591:
2590:0-85667-437-0
2587:
2583:
2580:Pons, Bruno.
2579:
2577:
2576:OCLC 1156874.
2573:
2571:
2565:
2559:
2556:
2555:0-306-81042-5
2552:
2548:
2545:
2542:
2540:
2536:
2533:Neale, J. E.
2532:
2529:
2528:0-415-15040-X
2525:
2521:
2517:
2514:
2513:0-582-08241-2
2510:
2506:
2502:
2499:
2498:90-04-13572-3
2495:
2491:
2487:
2485:
2484:OCLC 1199768.
2481:
2479:
2470:
2467:
2466:0-7538-2039-0
2463:
2459:
2455:
2452:
2449:
2448:0-521-46701-2
2445:
2441:
2437:
2434:
2430:
2427:
2426:2-08-013583-X
2423:
2419:
2415:
2412:
2411:2-7107-0420-X
2408:
2404:
2402:
2397:
2391:
2389:
2385:
2383:
2377:
2371:
2369:
2365:
2361:
2358:
2357:0-300-07748-3
2354:
2350:
2347:
2344:
2341:
2340:0-521-78225-2
2337:
2333:
2329:
2326:
2325:0-231-10926-1
2322:
2318:
2314:
2310:
2306:
2303:
2302:2-08-012062-X
2299:
2295:
2293:
2284:
2281:
2280:3-930698-96-X
2277:
2273:
2269:
2268:
2256:
2250:
2244:Thomson, 168.
2241:
2234:
2233:Ambroise Paré
2228:
2221:
2215:
2208:
2204:
2198:
2191:
2185:
2178:
2172:
2166:Thomson, 165.
2163:
2161:
2151:
2144:
2138:
2129:
2120:
2118:
2108:
2099:
2090:
2084:Thomson, 176.
2083:
2078:
2071:
2065:
2056:
2047:
2040:
2034:
2027:
2023:
2017:
2010:
2004:
1995:
1986:
1977:
1975:
1973:
1971:
1961:
1955:
1953:
1948:
1943:
1936:
1932:
1926:
1920:Thomson, 172.
1917:
1910:
1906:
1900:
1891:
1882:
1875:
1867:
1860:
1856:
1852:
1846:
1836:
1827:
1820:
1814:
1812:
1810:
1799:
1790:
1783:
1775:
1771:
1765:
1758:
1754:
1750:
1745:Thomson, 165.
1742:
1733:
1731:
1723:
1719:
1715:
1709:
1702:
1696:
1687:
1680:
1674:
1667:
1661:
1654:
1648:
1641:
1640:
1635:
1631:
1627:
1621:
1612:
1605:
1601:
1595:
1588:
1582:
1580:
1570:
1560:
1553:
1547:
1538:
1531:
1525:
1518:
1514:
1510:
1504:
1495:
1486:
1484:
1476:
1470:
1461:
1454:
1449:
1442:
1436:
1427:
1418:
1409:
1402:
1398:
1394:
1387:
1386:Antoine Caron
1383:
1377:
1370:
1364:
1355:
1353:
1343:
1334:
1327:
1323:
1317:
1311:Norwich, 157.
1308:
1302:Thornton, 51.
1299:
1293:Norwich, 158.
1290:
1283:
1279:
1278:Pierre Lescot
1275:
1269:
1260:
1251:
1245:Thomson, 176.
1242:
1240:
1230:
1221:
1212:
1205:
1199:
1192:
1186:
1179:
1175:
1171:
1165:
1158:
1152:
1143:
1134:
1132:
1130:
1128:
1123:
1114:
1111:
1109:
1106:
1105:
1099:
1097:
1090:
1073:
1071:
1067:
1065:
1064:
1059:
1048:
1046:
1040:
1037:
1033:
1029:
1025:
1021:
1017:
1013:
1005:
1001:
997:
993:
989:
987:
982:
980:
976:
972:
968:
964:
956:
952:
947:
938:
936:
932:
931:Medici column
928:
923:
919:
915:
910:
905:
898:Medici column
896:
889:
885:
880:
871:
869:
865:
861:
857:
851:
849:
846:
842:
838:
834:
830:
826:
818:
810:
801:
799:
795:
791:
787:
783:
779:
775:
771:
767:
763:
759:
751:
747:
743:
739:
737:
733:
727:
725:
721:
717:
713:
705:
700:
696:
694:
690:
685:
678:
676:
672:
665:
663:
659:
654:
652:
647:
643:
638:
635:
631:
627:
623:
619:
612:
608:
603:
594:
592:
588:
584:
580:
576:
566:
564:
560:
554:
552:
548:
544:
540:
536:
532:
529:, now in the
528:
520:
516:
515:Germain Pilon
511:
499:
498:Germain Pilon
492:
487:
483:
476:
471:
464:
459:
456:
455:
454:
452:
448:
443:
437:
435:
431:
427:
423:
422:Germain Pilon
419:
401:
396:
389:
384:
377:
372:
369:
368:
367:
364:
360:
355:
353:
349:
345:
341:
337:
327:
325:
321:
312:
306:Valois Chapel
302:
297:
295:
291:
288:, one of the
287:
283:
278:
275:
266:
262:
260:
259:Germain Pilon
256:
252:
248:
244:
240:
236:
232:
228:
224:
220:
216:
215:Fontainebleau
212:
208:
204:
200:
199:Louvre Palace
195:
192:
188:
184:
177:
173:
169:
165:
163:
159:
155:
151:
147:
143:
139:
138:Medici palace
135:
131:
121:
119:
115:
109:
107:
103:
99:
98:Fontainebleau
95:
90:
88:
84:
80:
76:
72:
68:
64:
60:
56:
52:
48:
44:
40:
36:
29:
25:
21:
3092:
2911:(son-in-law)
2703:
2700:development.
2695:
2669:
2654:
2637:
2626:
2611:
2596:
2581:
2566:
2546:
2534:
2519:
2504:
2489:
2475:
2457:
2439:
2417:
2416:Chastel, A.
2398:
2378:
2368:OCLC 554569.
2363:
2348:
2331:
2311:. Edited by
2308:
2289:
2271:
2254:
2249:
2240:
2227:
2219:
2214:
2202:
2197:
2189:
2184:
2176:
2171:
2150:
2142:
2137:
2132:Frieda, 148.
2128:
2123:Frieda, 144.
2111:Frieda, 455.
2107:
2102:Thomson, 176
2098:
2089:
2077:
2064:
2055:
2050:Knecht, 231.
2046:
2033:
2026:Jean Bullant
2021:
2016:
2008:
2003:
1994:
1989:Knecht, 230.
1985:
1980:Knecht, 232.
1964:Frieda, 306.
1960:
1951:
1942:
1925:
1916:
1899:
1890:
1881:
1870:Thomson, 171
1866:
1857:overlap the
1850:
1845:
1835:
1826:
1818:
1798:
1789:
1782:embezzlement
1773:
1769:
1764:
1741:
1736:Frieda, 335.
1713:
1708:
1695:
1686:
1678:
1673:
1665:
1660:
1652:
1647:
1639:contrapposto
1637:
1633:
1630:Michelangelo
1625:
1620:
1611:
1594:
1586:
1569:
1559:
1551:
1546:
1541:Knecht, 269.
1537:
1524:
1516:
1508:
1503:
1494:
1489:Zerner, 379.
1474:
1469:
1464:Knecht, 226.
1460:
1452:
1448:
1440:
1435:
1426:
1421:Zerner, 382.
1417:
1412:Zerner, 383.
1408:
1376:
1368:
1363:
1358:Knecht, 223.
1342:
1333:
1316:
1307:
1298:
1289:
1273:
1268:
1259:
1250:
1229:
1220:
1211:
1203:
1198:
1185:
1177:
1173:
1164:
1151:
1142:
1137:Knecht, 220.
1093:
1076:
1068:
1061:
1054:
1044:
1041:
1009:
983:
960:
911:
907:
864:Condé family
852:
822:
755:
732:Jean Bullant
728:
709:
680:
667:
655:
651:Jean Bullant
639:
625:
615:
572:
555:
542:
535:Michelangelo
527:Resurrection
526:
524:
519:Resurrection
518:
438:
425:
414:
359:Jean Bullant
356:
333:
330:Architecture
317:
299:
293:
279:
271:
255:Jean Bullant
237:. Featuring
196:
180:
158:Pitti palace
127:
110:
91:
32:
2893:Jean Fernel
2817:Descendants
2692:(in French)
2561:(in French)
2472:(in French)
2393:(in French)
2373:(in French)
2313:Pierre Nora
2286:(in French)
2257:(ca. 1573).
2154:Benes, 211.
1947:Henry Ellis
1774:Instruction
1393:iconography
1337:Knecht, 58.
1282:Jean Goujon
1215:Frieda, 24.
1146:Frieda, 79.
1039:question".
1032:trapezoidal
1026:. Jacques
815:architect:
662:Ionic order
559:Jean Goujon
418:bas-reliefs
140:, built by
79:Clement VII
3127:Categories
2826:Dynasties/
2807:(daughter)
2783:(daughter)
2777:(daughter)
2264:References
1998:Ayers, 42.
1859:pedimented
1793:Sharp, 44.
1759:additions.
1757:Henry IV's
1204:The Louvre
1174:bon esprit
1022:trees for
1012:menageries
1000:Chenonceau
975:pentangles
963:Chenonceau
955:Chenonceau
941:Chenonceau
845:rusticated
804:Saint-Maur
798:communards
671:Charles IX
646:Henry II's
637:complex.
618:Tournelles
146:Michelozzo
124:Influences
49:, and the
2855:Huguenots
2765:(husband)
1909:Vitruvius
1876:(1885–7).
1749:engraving
1668:, 94, 97.
1604:prie-dieu
1202:Babelon,
1096:Henry III
1063:parlement
1024:silkworms
848:pilasters
841:pavilions
794:Louis XVI
770:Huguenots
750:Tuileries
675:Vitruvius
658:pilasters
634:Tuileries
626:tuileries
607:Tuileries
597:Tuileries
583:pall mall
569:Montceaux
547:Mannerism
451:Bontemps'
434:Francis I
430:Louis XII
405:Elevation
344:pilasters
282:Artemisia
247:strapwork
231:Mannerism
191:itinerant
176:Francis I
154:Tuileries
2884:(cousin)
2759:(mother)
2753:(father)
1718:Henry IV
1703:, 71–87.
1681:, 96–97.
1389:survive.
1102:See also
1020:mulberry
1016:aviaries
971:Chaumont
922:orangery
860:pediment
790:Henry IV
720:Henry IV
656:For the
579:pavilion
505:Statuary
348:epitaphs
340:transept
274:jousting
239:frescoes
219:Henry II
207:Chambord
94:Chambord
65:and the
2218:Blunt,
2201:Blunt,
2188:Blunt,
2141:Blunt,
2020:Blunt,
2007:Blunt,
1935:cornice
1874:Ajaccio
1855:dormers
1817:Blunt,
1747:• This
1712:Blunt,
1699:Coope,
1677:Blunt,
1664:Blunt,
1651:Blunt,
1624:Blunt,
1585:Blunt,
1507:Blunt,
1477:, 56–59
1473:Blunt,
1439:Blunt,
1272:Blunt,
1191:Ronsard
835:in the
693:Corsica
684:dormers
587:croquet
551:Baroque
442:gisants
426:priants
324:rotunda
156:on the
73:popes,
63:Italian
57:, near
2964:Events
2744:Family
2676:
2661:
2646:
2618:
2603:
2588:
2570:frais.
2553:
2526:
2511:
2496:
2464:
2446:
2424:
2409:
2355:
2338:
2323:
2300:
2278:
1931:frieze
1642:style.
1600:missal
1206:, 263.
1014:, and
1006:, 1579
918:aviary
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